Bartek is evolving. This time towards a broader range of sound, which brings some undoubtedly positive changes to the state of XV Parowek. A few recent releases of his escaped me, but his come-back, at least to these ears, is successful. 50% objects, 20% filtering, effects, 20% radio, 5% field recording, 5% other: thus reads the �Ingredients� of this record. How does it translate into a more comprehensible description? Despite enhancing his wares, Bartek didn't cease to be a noise minimalist of a sort; sparse sonic particles, feedback, screeches, musique concrete � all of that makes for an entangled jigsaw puzzle, sparing us the obfuscating abundance. Again, Bartek tends to put emphasis on details rather than the power of an amp alone. The background, against which the above actions are set, is more accentuated now: a radio receiver employed as a source of white noise, samples, and some rhythm elements, not there on XVP's previous records are novelties that make Bartek's work more approachable now. Generally speaking, no revolutions are made here, but it's clear the period of changes and experiments for this project, existing since 1994, hasn't been completed yet. It's only the nonsensical approach to the visual and verbal matters is still the same (vide the track titles that translate approximately as follows: �On Foot, Fanning Yourself with Your Ears�, �A Corridor Tussle�, �Runway's Walls Falling Apart�, �Controlled by Variable Winds�, �Kilograms�). XVP continues to be an at least intriguing entity!
Eldritch Palmer Zine
Hailing from Poland comes Bartek Kalinka, aka XV Parowek, who was inspired by Einsturzende Neubauten when he started in 1994 to produce sound of his own. The first experiments were harsh noise, but over the years XV Parowek changed to what it is now: musique concrete inspired noise, that is generated, I think, in an improvised way. The cover lists, quite funnily '50% objects, 20% filtering, effects, 20% radio, 5% field recording and 5% other'. It's not entirely clear to me whether he uses a computer or that it is old fashioned four track - I suspect it's the latter. There is a certain rawness to be noted in both recording and mixing of the sounds, that adds a very lively atmopshere to it. I was reminded to some very early Merzbow (in his cassette years) and the work of Brume. Both have a similar in your face approach, a sound that allows no silence, no point of rest but contrary jumps around leaving the listener breathless. I understand that this is one of the less noisy works of XV Parowek, so maybe that's why I like it... (FdW)